gender: objectification

Francesca Tripodi PhD on August 31, 2017

I recently took in a poignant guest lecture on hookup culture by Lisa Wade. During the talk, Wade detailed the link between rape culture and hookup culture. While hooking up encourages women to behave “like men,” it simultaneously creates an environment that rejects feminine traits (kindness, care, empathy). Since then I’ve continuously noticed how we celebrate women who display traditionally masculine characteristics (be aggressive! lean in!). But, we often do so in ways that devalue feminine attributes. It is with this framework in mind that I went to see Wonder Woman.

Donning my “feminist mama” sweatshirt, I expected to be underwhelmed given the mediocre reviews describing the film as just another boilerplate superhero movie. With my critical 3D glasses on, I understood why many were frustrated. Steven Trevor always has a protecting arm over Diana, even after she demonstrates that she’s indestructible. The persistence of the male gaze was also disappointing. I recognize the need to reflect Marston’s 1940’s creation, but expecting Diana to run through forests, scale mountains, and beat down villains in a sensible wedge was as laughable as Steven Trevor’s ridiculous assurance to the audience that his genitalia was “above average.” It is no coincidence that Wonder Woman’s strong but “sexy” image was the one chosen by Douglas to represent her concept of enlightened sexism nearly a decade ago.

At the same time, I think it is important to recognize the film’s strengths. The women cast as Amazonians are athletes in real life with muscular bodies that challenge anglocentric beauty ideals. Diana is a unique combination of sex appeal, acumen, and wit. She is fierce but nurturing, emboldened to take down Ares but driven by her desire to protect children. Her outfit choices are elegant but practical and she even managed to stash a sword in her stolen evening gown. Diana asserted confidence and ability while her male sidekicks over-promised and under-delivered. In short, Wonder Woman seems to encapsulate the kind of feminism Wade described as lost: embracing aggression and kindness, strength and beauty.

Given Diana’s character complexity, I find language lauding the film for its ability to break the “curse of Catwoman” particularly offensive. Perhaps if Hollywood had chosen to produce Joss Whedon’s version of Wonder Woman, where Diana’s uses a “sexy dance” to thwart the villain, it might warrant a film comparison. After all, the Catwoman “plot” was a lurid focus on Halle Berry in a tight-fitting costume, a hypersexualized (de)evolution of a female protagonist. It tanked in the box office because, like most female characters in superhero films, Patience Phillips was a two-dimensional stereotype of femininity – meek, fickle, a tease. She had to “overcome” her feminine traits to succeed and used sex appeal as a weapon. Comparing the films conflates the presence of a female lead with the notion that both films were made for women. It’s like those who questioned if Clinton supporters might vote for McCain in 2008 because he put Palin on the ticket. Having a woman lead doesn’t mean women’s interests are being considered.

Despite these attempts at male wish fulfillment, Wonder Woman’s success was not due to men aged 15-25. Unlike other superhero flicks, Wonder Woman’s audience was roughly 52% women, and women and older audience viewers continue to build its momentum. When the Alamo Drafthouse risked litigation to host an all-female screening it sold out so quickly it added more women-only events to respond to the demand. Nevertheless, the comparison to Catwoman persists as does the dominant narrative that films outside of the Captain America framework are a “gamble.” Ignoring the success of films like Wonder Woman (Arrival or Get Out or Moonlight) allows executives to deflect the fact that most “flops” were made with an exclusively white, heterosexual, male audience in mind (I’m looking at you Cowboys & Aliens). Yet celebrating Wonder Woman as a “triumph,” allows us to pretend that similar female protagonists dominate the screen instead of calling more attention to the fact that women still only accounted for 32% of all speaking roles in 2015 or that non-white actors are continuously overlooked at the Oscars.

Diana showcases a physical resilience seldom credited to women – let’s celebrate that. She encapsulates a kind of feminism that Wade rightfully notes is nearly nonexistent. Diana is a warrior who is agentic, driven, nurturing, protective, and merciful. She exhibits masculine strength without having to cast aside her feminine traits. She voices concern for those who cannot protect themselves but she is a trained killer. By labeling Wonder Woman not feminist enough we overlook the crux of the problem: Wonder Woman’s empowerment narrative was likely tempered because Hollywood doesn’t really care about appealing to women. Highlighting the importance of Diana’s feminist dichotomy challenges Hollywood to build on that momentum and make a sequel without pandering to young, heterosexual, male audiences. In doing so, my hope is that in the future we have so many superheroes like Diana (strong because of their femininity, not strong despite it) that critics will have ample — and equivalent — characters for comparison.

Francesca Tripodi, PhD is a sociologist who studies how participatory media perpetuates systems of inequality. This year she is researching how partisan groups interact with media and the role community plays in legitimating what constitutes news and information as a postdoctoral scholar at Data & Society. Francesca would like to thank Caroline Jack and Tristan Bridges for their helpful feedback on this piece.

Flashback Friday.

In a society that objectifies women, women learn that, to many others, they are their bodies. Because our bodies are the means by which others judge us, we place our bodies under deep and critical scrutiny. In such a world, all bodies are always potentially problematic. Women are too much of this or not enough of that. Even when women like their bodies overall, there is always some part that some person would judge unacceptable. And, in any case, our bodies will inevitably (continue to) disappoint us if we lose the ability to invest time and money on them or, of course, dare to age.

Two postcards recently presented at Post Secret illustrate this idea. In one a woman expresses her discomfort with her small breasts:

In the other, a woman explains that her breasts make her feel insecure:

Large breasts are desirable? Right? At least that’s what the first woman believes. But large breasts can also be intimidating. Carrying around large breasts can bring attention one doesn’t want (“hey baby”) and judgments that are unfair (“she is flaunting her body”). Small breasts, however, may be de-sexualizing or, conversely, they may attract the attention of men who like to pretend that the women they sleep with are girls.

No matter what size and shape a woman’s breasts, the focus on her body that an objectifying culture makes others feel entitled to make them meaningful in ways that women can’t control. And that will be a problem for all women sometimes, no matter what her body looks like.

Nichole Fernández on February 13, 2017

The 2017 Super Bowl was an intense competition full of unexpected winners and high entertainment value. Alright, I didn’t actually watch the game, nor do I even know what teams were playing. I’m referring to the Super Bowl’s secondary contest, that of advertising. The Super Bowl is when many companies will roll out their most expensive and innovative advertisements. And this year there was a noticeable trend of socially aware advertising. Companies like Budweiser and 84 Lumber made statements on immigration. Airbnb and Coca-Cola celebrated American diversity. This socially conscious advertising is following the current political climate and riding the wave of increasing social movements. However, it also follows the industry’s movement towards social responsibility and activism.

One social activism Super Bowl commercial that created a significant buzz on social media this year was Audi:

The advertisement shows a young girl soapbox racing and a voiceover of her father wondering how to tell her about the difficulties she is bound to face just for being female. This commercial belongs to a form of socially responsible advertising often referred to as femvertising. Femvertising is a term used to describe mainstream commercial advertising that attempts to promote female empowerment or challenge gender stereotypes.

Despite the Internet’s response to this advertisement with a sexist pushback against feminism, this commercial is not exactly feminist. While at its core this advertisement is sending a fundamentally feminist argument of gender equality and fair wages, it feels disempowering to have a man explain sexism. It feels a little like “mansplaining” with moments reminiscent of the male “savior” trope. There is also a very timid relationship between the fight for gender equality and the product being sold. The advertisement is attempting to associate Audi with feminist ideals, but the reality is that with no female board members Audi is not exactly practicing what they preach. There are many reasons why ‘femverstising’ in general is problematic (not including contested relationship between feminism and capitalism). Here I will point out three problems with this new trend of socially ‘responsible’ femvertising.

1. The industry

The advertising industry is not known for its diversity nor is it known for its accurate representation women. So right away the industry doesn’t instill confidence in those hoping for more socially aware and diverse advertising. The way advertising works is to promote a brand identity by drawing on social symbols that make products like Channel perfume a signifier of French sophistication and Marlboro cigarettes an icon of American rugged masculinity. Therefore companies are selling an identity just as much as the product itself, while corporations that employ feminist advertising are instead appropriating feminist ideologies.

They are appropriating not social signifiers of an idealized lifestyle, but rather the whole historical baggage and gendered experiences women. This appropriation at its core is not for social progress and empowerment, but to sell a product. The whole industry functions by using these identities for material gain. As feminism becomes more popular with young women, it then becomes a profitable and desirable identity to implement. The whole concept is against feminist ideology because feminism is not for sale. Using feminist arguments to sell products may be better than perpetuating gender stereotypes but it is still using these ideologies like trying on a new style of dress that can be taken off at night rather than embodying the messages of feminism that they are borrowing. This brings us to the next point.

2. Sometimes it’s the Wrong Solution

Lets consider Dove, the toiletries company that has gained a fair amount of notoriety for their social advertising and small-scale outreach programs for women and girls. Their advertisements are famous for endorsing the body positive movement. But in general the connection between female empowerment and what they actually sell is weak. Which makes it feel insincere and a lot like pandering. Why doesn’t Dove just make products that are more aligned with feminist ideologies in the first place? If feminist consumers are what they want, then make feminist products. Don’t try to just apply feminist concepts as an afterthought in hopes of increasing consumer sales.

Dove is a beauty company that is benefiting from products that are aimed at promoting a very gendered ideal of beauty. The company itself is part of the problem so its femvertising makes me feel like Dove (and their parent company Unileaver) is trying to deny that they are playing a huge role in the creation of these stereotypes that they are claiming to be challenging. If you want to really empower women then don’t just do it in your branding start with the products you are making, examine your business model, and challenge the industry as whole. Feminist concepts should run through the entire core of your business before you try to sell it to your consumers. We don’t need feminist advertising, we need a system that is not actively continuing to increase a gender divide where women are meant to be beautiful and expected to purchase the beauty products that Dove sells. Using feminist inspired advertising doesn’t solve this underlying core problem it just masks it. Femvertising therefore is often the wrong solution, or really not even a solution at all.

3. Femvertising shouldn’t have to be a term

We really shouldn’t be in a situation where all advertising is so un-feminist and so degrading towards women that there is a term for advertising that simply depicts women as powerful. When the bar is set so low we shouldn’t praise companies for doing the minimum required to represent women both accurately and positively. We should be holding our advertising, media, and all other forms of visual representation to much higher standards. Femvertising shouldn’t be a thing because we shouldn’t have to give a term to what responsible advertising agencies should be aiming for when they represent women.

So as to not leave you on a depressing and negative note, here are three advertisements that should be acknowledged for actively challenge the norms:

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Nichole Fernández is a PhD candidate in sociology at the University of Edinburgh specializing in visual sociology. Her PhD research explores the representation of the nation in tourism advertisements and can be found at www.visualizingcroatia.com. Follow Nichole on twitter here.

Tressie McMillan Cottom PhD on May 27, 2016

Assigned: Life with Gender is a new anthology featuring blog posts by a wide range of sociologists writing at The Society Pages and elsewhere. To celebrate, we’re re-posting four of the essays as this month’s “flashback Fridays.” Enjoy! And to learn more about this anthology, a companion to Wade and Ferree’s Gender: Ideas, Interactions, Institutions, please click here.

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When Your Brown Body is a White Wonderland, by Tressie McMillan Cottom, PhD

This may meander.

Miley Cyrus made news this week with a carnival-like stage performance at the MTV Video Music Awards that included life-size teddy bears, flesh-colored underwear, and plenty of quivering brown buttocks. Almost immediately after the performance many black women challenged Cyrus’ appropriation of black dance (“twerking”). Many white feminists defended Cyrus’ right to be a sexual woman without being slut-shamed. Yet many others wondered why Cyrus’ sad attempt at twerking was news when the U.S. is planning military action in Syria.

I immediately thought of a summer I spent at UNC Chapel Hill. My partner at the time fancied himself a revolutionary born too late for all the good protests. At a Franklin Street pub one night we were the only black couple at a happy hour. It is one of those college places where concoctions of the bar’s finest bottom shelf liquor is served in huge fishbowls for pennies on the alcohol proof dollar. I saw a few white couples imbibing and beginning some version of bodily grooving to the DJ. I told my partner that one of them would be offering me free liquor and trying to feel my breasts within the hour.

He balked, thinking I was joking.

I then explained to him my long, storied, documented history of being accosted by drunk white men and women in atmospheres just like these. Women asking to feel my breasts in the ladies’ restroom. Men asking me for a threesome as his drunk girlfriend or wife looks on smiling. Frat boys offering me cash to “motorboat” my cleavage. Country boys in cowboy hats attempting to impress his buddies by grinding on my ass to an Outkast music set. It’s almost legend among my friends who have witnessed it countless times.

My partner could not believe it until not 30 minutes later, with half the fishbowl gone, the white woman bumps and grinds up to our table and laughing tells me that her boyfriend would love to see us dance. “C’mon girl! I know you can daaaaannnce,” she said. To sweeten the pot they bought our table our own fishbowl.

My partner was stunned. That summer we visited lots of similar happy hours. By the third time this scene played out my partner had taken to standing guard while I danced, stonily staring down every white couple that looked my way. We were kicked out of a few bars when he challenged some white guy to a fight about it. I hate such scenes but I gave my partner a break. He was a man and not used to this. He didn’t have the vocabulary borne of black breasts that sprouted before bodies have cleared statutory rape guidelines. He didn’t know the words so he did all he knew how to do to tell me he was sorry this was my experience in life: he tried to kick every white guy’s ass in Chapel Hill.

I am not beautiful. I phenotypically exist in a space where I am not usually offensive looking enough to have it be an issue for my mobility but neither am I a threat to anyone’s beauty market. There is no reason for me to assume this pattern of behavior is a compliment. What I saw in Cyrus’ performance was not just a clueless, culturally insensitive attempt to assert her sexuality or a simple act of cultural appropriation at the expense of black bodies. Instead I saw what kinds of black bodies were on that stage with Cyrus.

Cyrus’ dancers look more like me than they do Rihanna or Beyonce or Halle Berry. The difference is instructive.

Fat non-normative black female bodies are kith and kin with historical caricatures of black women as work sites, production units, subjects of victimless sexual crimes, and embodied deviance. As I said in my analysis of hip-hop and country music cross-overs, playing the desirability of black female bodies as a “wink-wink” joke is a way of lifting up our deviant sexuality without lifting up black women as equally desirable to white women. Cyrus did not just have black women gyrating behind her. She had particularly rotund black women. She gleefully slaps the ass of one dancer like she intends to eat it on a cracker. She is playing a type of black female body as a joke to challenge her audience’s perceptions of herself while leaving their perceptions of black women’s bodies firmly intact. It’s a dance between performing sexual freedom and maintaining a hierarchy of female bodies from which white women benefit materially.

The performance works as spectacle precisely because the background dancers embody a specific kind of black female body. That spectacle unfolds against a long history of how capitalism is a gendered enterprise and subsequently how gendered beauty norms are resisted and embraced to protect the dominant beauty ideal of a certain type of white female beauty.

Being desirable is a commodity. Capital and capitalism are gendered systems. The very form that money takes — paper and not goods — is rooted in a historical enterprise of controlling the development of an economic sphere where women might amass wealth. As wealth is a means of power in a capitalistic society, controlling this means of acceptable monies was a way of controlling the accumulation, distribution and ownership of capital.

For black women, that form of money was embodied by the very nature of how we came to be in America.

Our bodies were literally production units. As living cost centers we not only produced labor as in work but we produced actual labor through labor, i.e. we birthed more cost centers. The legendary “one drop” rule of determining blackness was legally codified not just out of ideological purity of white supremacy but to control the inheritance of property. The sexual predilections of our nation’s great men threatened to transfer the wealth of white male rapists to the children born of their crimes through black female bodies.

Today much has changed and much has not. The strict legal restriction of inheritable black deviance has been disrupted but there still exists a racialized, material value of sexual relationships. The family unit is considered the basic unit for society not just because some god decreed it but because the inheritance of accumulated privilege maintains our social order.

Thus, who we marry at the individual level may be about love but at the group level it is also about wealth and power and privilege.

Black feminists have critiqued the material advantage that accrues to white women as a function of their elevated status as the normative cultural beauty ideal. As far as privileges go it is certainly a complicated one but that does not negate its utility. Being suitably marriageable privileges white women’s relation to white male wealth and power.

The cultural dominance of a few acceptable brown female beauty ideals is a threat to that privilege. Cyrus acts out her faux bisexual performance for the white male gaze against a backdrop of dark, fat black female bodies and not slightly more normative cafe au lait slim bodies because the juxtaposition of her sexuality with theirs is meant to highlight Cyrus, not challenge her supremacy. Consider it the racialized pop culture version of a bride insisting that all of her bridesmaids be hideously clothed as to enhance the bride’s supremacy on her wedding day.

Only, rather than an ugly dress, fat black female bodies are wedded to their flesh. We cannot take it off when we desire the spotlight for ourselves or when we’d rather not be in the spotlight at all.

This political economy of specific types of black female bodies as a white amusement park was ignored by many, mostly because to critique it we have to critique ourselves.

When I moved to Atlanta I was made aware of a peculiar pastime of the city’s white frat boy elite. They apparently enjoy getting drunk and visiting one of the city’s many legendary black strip clubs rather than the white strip clubs. The fun part of this ritual seems to be rooted in the peculiarity of black female bodies, their athleticism and how hard they are willing to work for less money as opposed to the more normative white strippers who expect higher wages in exchange for just looking pretty naked. There are similar racialized patterns in porn actresses’ pay and, I suspect, all manner of sex workers. The black strip clubs are a bargain good time because the value of black sexuality is discounted relative to the acceptability of black women as legitimate partners.

There is no risk of falling in love with a stripper when you’re a white guy at the black strip club. Just as country music artists strip “badonkadonk” from black beauty ideals to make it palatable for to their white audiences, these frat boys visit the black body wonderland as an oddity to protect the supremacy of white women as the embodiment of more and better capital.

My mentor likes to joke that interracial marriage is only a solution to racial wealth gaps if all white men suddenly were to marry up with poor black women. It’s funny because it is so ridiculous to even imagine. Sex is one thing. Marrying confers status and wealth. Slaveholders knew that. Our law reflects their knowing this. The de rigueur delineation of this difference may have faded but cultural ideology remains.

Cyrus’ choice of the kind of black bodies to foreground her white female sexuality was remarkable for how consistent it is with these historical patterns. We could consider that a coincidence just as we could consider my innumerable experiences with white men and women after a few drinks an anomaly. But, I believe there is something common to the bodies that are made invisible that Cyrus might be the most visible to our cultural denigration of bodies like mine as inferior, non-threatening spaces where white women can play at being “dirty” without risking her sexual appeal.

I am no real threat to white women’s desirability. Thus, white women have no problem cheering their husbands and boyfriends as they touch me on the dance floor. I am never seriously a contender for acceptable partner and mate for the white men who ask if their buddy can put his face in my cleavage. I am the thrill of a roller coaster with safety bars: all adrenaline but never any risk of falling to the ground.

I am not surprised that so many overlooked this particular performance of brown bodies as white amusement parks in Cyrus’ performance. The whole point is that those round black female bodies are hyper-visible en masse but individually invisible to white men who were, I suspect, Cyrus’ intended audience.

No, it’s not Syria but it is still worth commenting upon when in the pop culture circus the white woman is the ringleader and the women who look like you are the dancing elephants.

Almost all of the representations of breasts we encounter in the mass media are filtered through the hypothetical heterosexual male gaze. Breasts are objects, things that people desire. Women’s personal, subjective experiences of having breasts is almost never discussed in pop culture. I mean, yes, occasionally two female characters might talk about their breasts, but usually in reference to whether and how they do or fail to attract male attention (e.g., “Is this too much cleavage?” and “I wish I had more cleavage!”). What it feels like to have breasts outside of the context of being a sex object isn’t talked about. There’s a void, a black hole of experience.

The only other common discourse about breasts that comes to mind centers around breastfeeding. In that discourse, the idea that breasts are for men is challenged, but only in favor of the idea that breasts are for babies. In neither discursive context does anyone make the case that breasts are primarily for the people who have them. That the pleasure (and pain) and comfort (and discomfort) that comes with breasts belongs — first and foremost — to female-bodied people.

Last week, I saw something different. Crazy Ex-Girlfriend is an odd little TV show with a couple musical numbers in each episode and one of the numbers last week was called “Heavy Boobs.” It’s safe for work but… maybe not safe for work.

Rachel Bloom‘s song names and describes one subjective experience of breasts. Breasts are “heavy boobs,” she sings, just “sacks of yellow fat” that can weigh on women. In the song, the breast-haver’s experience is centered to the exclusion of what men or babies might want or think or experience. I can’t ever remember seeing that on TV before.

And that’s plenty, but what she and her fellow dancers do with their bodies is even more extraordinary. They defy the rules of sexiness. Their movements are about embodying heavy boobs and that’s it. It’s as if they don’t care one iota about whether a hypothetical heterosexual male will see them. The dance is unapologetically unsexy. No, it’s more than unsexy; it’s asexy. It’s danced neither to repulse or attract men; instead, it’s danced as if sexiness is entirely and completely irrelevant. There’s no male gaze because, in that two minutes, there’s not a man in sight.

Anita Little on September 22, 2015

Serena Williams, the winner of 21 Grand Slam titles and arguably the greatest living female athlete, was understandably exhausted after defeating her sister and best friend Venus Williams in the U.S. Open earlier this week. So she wasn’t having it when, during a post-match press conference on Tuesday, a reporter had the gall to ask why she wasn’t smiling.

It’s 11:30. To be perfectly honest with you, I don’t want to be here. I just want to be in bed right now and I have to wake up early to practice and I don’t want to answer any of these questions. And you keep asking me the same questions. It’s not really … you’re not making it super enjoyable.

Nervous laughter may have broken out in the crowd, but what Williams expressed wasn’t a joke. All women are expected to perform femininity at the cost of being their authentic selves in the public sphere. Williams had just experienced what was likely one of the most emotionally and physically draining matches in her career. Taking on your sister in a high-stakes game isn’t easy. She had told the Associated Press before her win:

She’s the toughest player I’ve ever played in my life and the best person I know. It’s going against your best friend and at the same time going against the greatest competitor, for me, in women’s tennis.

It makes sense that she would not be smiling ear-to-ear during the media conference. But it turns out no matter how insanely accomplished or famous you become, you will still be subjected to the innocuous-sounding but ever-so-pernicious “why don’t you smile?” interjection from those who feel entitled to make demands of women. Williams’ retort was her attempt at dismantling that sense of entitlement. For those who say the reporter’s question was a harmless jest, they should ask themselves if Roger Federer or Rafael Nadal would ever be expected to defend their stern or tired expressions.

And the problem exists not just in the image-heavy world of professional sports. On Wednesday, Apple did little to change the public’s perception of the tech industry as a sexist one. During a launch presentation in San Francisco, the first woman to be seen on stage at the male-dominated event wasn’t a keynote speaker or even a presenter, but a model in a magazine photo. Adobe’s director of design used her image to show off the Photoshopping capabilities of the new iPad Pro.

What did he decide to Photoshop one might ask? A smile onto her face. He could have altered literally any aspect of any image he wanted but decided instead to force a woman’s visage into a grin.

What happened at the tennis conference and the tech launch are symptoms of the same problem. Women, whether athletes or models, are often seen as products. They’re meant to be consumed and enjoyed, and expressions of personality — like not constantly grinning — distract from their role as ornaments.

It’s the reason projects like Stop Telling Women to Smile by Tatyana Fazlalizadeh have cropped up to address the microaggressions women face on a daily basis. Women don’t exist to smile for men and aren’t obligated to present a cheerful disposition to the world. To expect that denies us our humanity and only reinforces male privilege.

Adrienne Keene EdD on September 16, 2015

From an angry tweet to an actual change.

On September 1st I objected to the description of the Disney movie Pocahontas at Netflix. It read:

An American Indian woman is supposed to marry the village’s best warrior, but she years for something more — and soon meets Capt. John Smith.

I argued that, among other very serious problems with the film itself, this description reads like a porn flick or a bad romance novel. It overly sexualizes the film, and only positions Pocahontas in relation to her romantic options, not as a human being, you know, doing things.

Other Disney lead characters are not at all described this way. Compare the Pocahontas description to the ones for a few other Disney films on Netflix:

The Hunchback of Notre Dame. “Inspired by Victor Hugo’s novel, this Disney film follows a gentle, crippled bell ringer as he faces prejudice and tries to save the city he loves.”

The Emperor’s New Groove. “In this animated Disney adventure, a South American emperor experiences a reversal of fortune when his power-hungry adviser turns him into a llama.”

Tarzan. After being shipwrecked off the African coast, a lone child grows up in the wild and is destined to become lord of the jungle.”

Hercules. “The heavenly Hercules is stripped of his immortality and raised on earth instead of Olympus, where he’s forced to take on Hades and assorted monsters.”

I picked these four because they have male protagonists and, with the exception of Emperor’s New Groove which has a “South American” lead, the rest are white males. I have problems with the “gentle, crippled” descriptor but, the point is, these movies all have well developed romance plot lines, but their (white, male) protagonists get to save things, fight people, have adventures, and be “lord of the jungle” – they are not defined by their romantic relationships in the film.

We cannot divorce the description of Pocahontas from it’s context. We live in a society that sexualizes Native women: it paints us as sexually available, free for the taking, and conquerable – an extension of the lands that we occupy. The statistics for violence against Native women are staggeringly high, and this is all connected.

NPR Codeswitch recently posted a piece about how watching positive representations of “others” (LGBT, POC) on TV leads to more positive associations with the group overall, and can reduce prejudice and racism. This is awesome, but what if the only representations are not positive? In the case of Native peoples, the reverse is true – seeing stereotypical imagery, or in the case of Native women, overly sexualized imagery, contributes to the racism and sexual violence we experience. The research shows that these seemingly benign, “funny” shows on TV deeply effect real life outcomes, so I think we can safely say that a Disney movie (and its description) matters.

So, my point was not to criticize the film, which I can save for another time, but to draw attention to the importance of the words we use, and the ways that insidious stereotypes and harmful representations sneak in to our everyday lives.

In any case, I expressed my objection to the description on Twitter and was joined by hundreds of people. And… one week later, I received an email from Netflix:

Dear Dr. Keene,

Thanks for bringing attention to this synopsis. We do our best to accurately portray the plot and tone of the content we’re presenting, and in this case you were right to point out that we could do better. The synopsis has been updated to better reflect Pocahontas’ active role and to remove the suggestion that John Smith was her ultimate goal.

Appreciatively,

<netflix employee>

Text:

A young American Indian girl tries to follow her heart and protect her tribe when settlers arrive and threaten the land she loves.

Sometimes I’m still amazed by the power of the internet.

Adrienne Keene, EdD is a graduate of the Harvard Graduate School of Education and is now a postdoctoral fellow in Native American studies at Brown University. She blogs at Native Appropriations, where this post originally appeared. You can follow her on Twitter.